Mix Analyzer guide
Frequency Spectrum Analysis
Read frequency balance and fix low-mid mud, masking, harshness, and a dull top end before mastering.
What frequency balance really tells you
Frequency balance is how a track spreads its energy from sub bass up to air. Get it right and every part has room; get it wrong and the mix sounds muddy, boxy, harsh, or dull no matter how good the parts are. Here is the part only we can show you: across the mixes producers run through Mix Analyzer, the spectrum skews bottom-heavy. Roughly 9 in 10 come in light on top-end air, about 7 in 10 are bass-dominant, and more than half carry low-mid buildup. If your mix feels cloudy or closed-in, you are in the majority - and it is fixable.
Low end
Sub and bass weight that drives power and translation - and the first thing to run hot.
Low mids
The 200-500 Hz mud zone where parts pile up and start masking each other.
Presence
Upper-mid energy that decides whether vocals and leads cut or get buried.
Air
The 10 kHz-plus shimmer that is missing from most mixes we see.
What we see most often in real mixes
We looked at the frequency results from mixes analyzed on Mix Analyzer, in bulk and anonymized, and the pattern is consistent: too much weight down low, not enough air up top. That single tilt explains most of the "my mix sounds muddy, small, or dull" feedback producers get.
The most common frequency findings
- About 9 in 10 mixes are light on top-end air (10 kHz and up), which reads as dull or closed-in.
- Around 7 in 10 are bass-dominant, where the low end crowds everything above it.
- More than half show low-mid buildup around 200-500 Hz - the classic mud.
- Harshness and sibilance are far less common than people fear; low-end control is the real battle.
The common problems - and how to fix each
Most translation problems come down to a handful of repeat offenders. Reach for subtractive EQ first, work with the full mix playing rather than soloed, and make small moves.
Problem then fix
- Low-mid mud (200-500 Hz): high-pass parts that do not need lows, then cut 2-4 dB with a wide Q on the secondary tracks.
- Kick vs bass masking: let one own the sub (for example kick near 60 Hz) and carve the other with dynamic EQ or a sidechain.
- Boxiness (300-600 Hz): boost-sweep with a narrow Q to find the honk, then cut it 3-6 dB.
- Harsh upper-mids (2-5 kHz): use dynamic EQ so it only tames the loud, edgy moments instead of dulling the whole track.
- Sibilance (5-10 kHz): a de-esser tuned to the exact problem band, threshold set to catch the esses and not the vowels.
- Dull top end (10 kHz+): a gentle high-shelf of 2-3 dB, added late and sparingly so it does not turn harsh.
A simple frequency-balance pass
You do not need a flat spectrum, you need an intentional one that fits the genre and arrangement. This order keeps you out of trouble.
Workflow
- High-pass everything that does not need sub energy to clear headroom.
- Fix the biggest low-mid offender before you touch the top end.
- Check the kick-and-bass relationship in mono.
- Add air last, then re-check level-matched against a reference track.
What Mix Analyzer adds
Instead of staring at a raw spectrum, you get the balance read for you - band by band - with the specific issues flagged and plain-language moves to try, plus a visual you can confirm against what you hear.
In every analysis
- Band-by-band balance across sub, bass, low-mids, mids, presence, and air.
- The specific frequency issues found in your track, ordered by impact.
- EQ-oriented suggestions you can act on directly in your DAW.
- A spectrum visual so you can confirm the numbers against your ears.
Frequently asked questions
Why does my mix sound muddy?
Usually too much overlapping energy in the 200-500 Hz low-mids. High-pass tracks that do not need lows and make small 2-4 dB cuts around 250-350 Hz on the secondary parts.
Should I cut or boost when EQing?
Cut first. Subtractive EQ is more transparent, and removing a problem frequency often means you never need to boost at all.
What frequency is sibilance?
Typically 5-10 kHz, depending on the singer and microphone. Use a de-esser tuned to the exact band rather than a static cut.
How do I stop my kick and bass fighting?
Give each its own pocket - let one own the very low end and use dynamic EQ or a sidechain so they stop masking each other.
Why should low frequencies be mono?
Below about 100-120 Hz, stereo bass can phase-cancel when summed to mono and plays back inconsistently. Mono lows hit harder and translate better.
Why does my mix sound different at low volume?
Your ears are less sensitive to bass and treble at low levels, the equal-loudness effect. Check your balance at several volumes and against reference tracks.
Further reading
- Sound on Sound - SOS Audio Frequency Chart — Maps instruments and subjective terms like mud and presence to frequencies.
- Sound on Sound - EQ: How and When To Use It — Filter types, Q, and practical EQ decisions.
- iZotope Learn - EQ Cheat Sheet — A frequency-by-frequency guide including the mud region.
- Sweetwater - Fundamentals of Frequency Ranges — How each band of the spectrum shapes a mix.
- Wikipedia - Equal-loudness contour — Why perceived balance changes with listening level.
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